The first ecosystem is one of musical material, where a human-guided algorithm spawns mutations and hybrids of existing melodies, which become elements of new pieces and themselves become inputs to the same algorithm.

Natural selection occurs as preferred melodies have more musical offspring (variations) over time, and musical family-trees arise that trace the genealogy of parts within new pieces. Musical elements "escape the lab" into the wild, to recombine generative seeds with other such elements, in entirely unforeseen musical settings.

The second ecosystem is one of software components. Music composition/production apps enable creation of adaptive melodies, and generative analysis of existing ones. Those elements become moving parts within larger musical pieces, where they undergo further mutation in adaptive/interactive listening apps. These in turn provide new inputs to the first ecosystem (of musical elements).

Currently this takes the form of a desktop app that controls parts within Ableton Live. The app is written in Swift (on MacOS) and communicates with Live via OSC (Open Sound Control) and Max-for-Live. Pieces created in such a form are ready for adaptive playback by other software, such as location-based apps, data auralization, fitness apps, mobile entertainment, game engines. In each case the musical output is affected by user actions or parameters that control the relative influence of musical inputs as the larger piece unfolds in time.

The two ecosystems drive each other: content creation and music consumption become part of a continuum where music evolves not just in the hands of trained composers but via the actions and musical results navigated by users. For composers the attraction is music that has a life of its own, spawning other music as it encounters new applications and influences. For listeners the attraction is music that adapts to personal situations and never gets worn out from repeated hearings.